THE PREPOSTEROUS BOLLOX OF THE SITUATION

A collection of stuff, things, nonsense, rants, raves, pretties, sillies, and gee-gaws from Rev. Hugo Nebula, Ordained Minister of the Church of the SubGenius. (And boobs. Sometimes there are boobs. Just like in real life.) Thank you for reading.
 

 

 

 

 
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"A Dorchester County, Maryland, teacher was taken in for an "emergency medical evaluation," suspended from his job, and barred from setting foot on another public school. Authorities searched his school, Mace’s Lane Middle School in Cambridge, for weapons. As classes resumed, parents worried that their children were in danger, so police decided to remain on the premises to watch over them.

"What happened? The teacher, Patrick McLaw, published a fiction novel. Under a pen name. About a made-up school shooting. Set in the year 2902…"

blessedwithgloriousbutt:

maycontainfeminists:

One of the best examples of artistic integrity on a corporate scale.

wow. 

No matter how many times I see this, I never fail to be impressed by that last sentence.

(via themightybadwolf)

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Church of the SubGenius Hour of Slack #1481 - Mass Wisteria

We had a great two weeks in Germany, but our gripping report on that will have to wait until next week. This is the second of two shows from July 2, recorded before a live audience in Caffeina’s café at the Wisteria campground, with Dr. Hal, Rev. Baby Bear, Rev. Richard Skull, Princess Wei ‘R.’ Doe and Rev. Stang. Topics include working for “Bob,” bad booze, our perpetual dissatisfaction, The First Church of the Last Laugh, head launchings, Mass Wisteria, Stang’s hair, the kinks of “Bob,” “Bob’s” Favorite Comics and other swag classics, scotch tape-and-FATE-magazine collage technique, the story of Count Jesus, a rant by Fellow Citizen Bork (read by Stang), the Planets of the Apes, “Bob” as a CGI character, The Uncanny Valley of “Bob,” Intelligent but Psychopathic Design, the Socialist Social, Obabo the Presiserp of Uninu, Dr. Hal recites a Tolkein poem. 

burnedoutbabe:

horror-movie-confessions:

So I just got back from Washington, D.C. and my favorite part was definitely the Crime & Punishment Museum and I wanted to share some of the things I liked from it with you guys! 

First Picture: John Wayne Gacy’s leather jacket which he was supposedly arrested in. On the right of it is his wallet, still how it was when it was taken from him, including things like his Radio Shack member card. Underneath is his painting supplies where he wrote his name on the case and his typewriter. 

Second Picture: One of my favorite (and the creepiest) part of the exhibit: John Wayne Gacy’s “Pogo the Clown” suits.

Third Picture: A self-portrait drawn by Gacy himself. 

Fourth Picture: A photo of Gacy as Pogo the Clown signed by him. 

Fifth Picture: The handcuffs used to handcuff Jeffrey Dahmer when he was arrested and his signature. 

Sixth Picture: A baseball and a photo signed by Charles Manson. 

Seventh Picture: "Old Smokey." The electric chair responsible for killing over 125 men on death row. 

Eighth Picture: Probably my favorite part of the museum. Ted Bundy’s Volkswagon Beetle. 

Not to mention hundreds of other unbelievable things, the whole museum takes about an hour just to walk through! If you ever have the chance, DEFINITELY go, probably one of the best experiences of my life.

woaaaaah

(via emmra)

ktzn:

americangothgirl:

During WWII, Irena got permission to work in the Warsaw ghetto, as a Plumbing/Sewer specialist. She had an ulterior motive.

Irena smuggled Jewish infants out in the bottom of the tool box she carried. She also carried a burlap sack in the back of her truck, for larger kids.

Irena kept a dog in the back that she trained to bark when the Nazi soldiers let her in and out of the ghetto. The soldiers, of course, wanted nothing to do with the dog and the barking covered the kids/infants noises.

During her time of doing this, she managed to smuggle out and save 2500 kids/infants. Ultimately, she was caught, however, and the Nazi’s broke both of her legs and arms and beat her severely.

Irena kept a record of the names of all the kids she had smuggled out, In a glass jar that she buried under a tree in her back yard. After the war, she tried to locate any parents that may have survived and tried to reunite the family. Most had been gassed. Those kids she helped got placed into foster family homes or adopted.

In 2007 Irena was up for the Nobel Peace Prize. 
She was not selected. 
Al Gore won, for a slide show on Global Warming.

Irena Sendlers story in wikipedia 

(via bevismusson)

"The Vanilla Fudge Room is from an early draft of Roald Dahl’s most famous novel. With new illustrations by Quentin Blake."

INTERVIEWER

What was it about Dick’s work that caught your attention?

LE GUIN

Partly it was that he and I had similar interests in certain things, such as Taoism and the I Ching—after all we were both Berkeley kids of exactly the same generation. And then, his sci-fi novels were about ordinary, unexceptional, confused people, when so much sci-fi consisted of Campbellian or militaristic heroes and faceless multitudes. Mr. Tagomi, in The Man in the High Castle, was a revelation to me of what you could do with sci-fi if you really took it seriously as a novelist. Did you know we were in the same high school?

INTERVIEWER

You and Philip K. Dick? Really?

LE GUIN

Berkeley High, thirty-five hundred kids. Big, huge school. Nobody knew Phil Dick. I have not found one person from Berkeley High who knew him. He was the invisible classmate.

INTERVIEWER

That could almost be taken from one of his novels. So you didn’t know him at all?

LE GUIN

No! We got into correspondence as adults. But I never met him physically.

Ursula Le Guin, Paris Review interview. (via bowiesongs)

(via aleskot)

timemachineyeah:

This is a jar full of major characters 

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Actually it is a jar full of chocolate covered raisins on top of a dirty TV tray. But pretend the raisins are interesting and well rounded fictional characters with significant roles in their stories. 

We’re sharing these raisins at a party for Western Storytelling, so we get out two bowls. 

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Then we start filling the bowls. And at first we only fill the one on the left. 

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This doesn’t last forever though. Eventually we do start putting raisins in the bowl on the right. But for every raisin we put in the bowl on the right, we just keep adding to the bowl on the left. 

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And the thing about these bowls is, they don’t ever reset. We don’t get to empty them and start over. While we might lose some raisins to lost records or the stories becoming unpopular, but we never get to just restart. So even when we start putting raisins in the bowl on the right, we’re still way behind from the bowl on the left. 

And time goes on and the bowl on the left gets raisins much faster than the bowl on the right. 

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Until these are the bowls. 

Now you get to move and distribute more raisins. You can add raisins or take away raisins entirely, or you can move them from one bowl to the other. 

This is the bowl on the left. I might have changed the number of raisins from one picture to the next. Can you tell me, did I add or remove raisins? How many? Did I leave the number the same?

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You can’t tell for certain, can you? Adding or removing a raisin over here doesn’t seem to make much of a change to this bowl. 

This is the bowl on the right. I might have changed the number of raisins from one picture to the next. Can you tell me, did I add or remove raisins? How many? Did I leave the number the same?

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When there are so few raisins to start, any change made is really easy to spot, and makes a really significant difference. 

This is why it is bad, even despicable, to take a character who was originally a character of color and make them white. But why it can be positive to take a character who was originally white and make them a character of color.

The white characters bowl is already so full that any change in number is almost meaningless (and is bound to be undone in mere minutes anyway, with the amount of new story creation going on), while the characters of color bowl changes hugely with each addition or subtraction, and any subtraction is a major loss. 

This is also something to take in consideration when creating new characters. When you create a white character you have already, by the context of the larger culture, created a character with at least one feature that is not going to make a difference to the narratives at large. But every time you create a new character of color, you are changing something in our world. 

I mean, imagine your party guests arrive

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Oh my god they are adorable!

And they see their bowls

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But before you hand them out you look right into the little black girls’s eyes and take two of her seven raisins and put them in the little white girl’s bowl.

I think she’d be totally justified in crying or leaving and yelling at you. Because how could you do that to a little girl? You were already giving the white girl so much more, and her so little, why would you do that? How could you justify yourself?

But on the other hand if you took two raisins from the white girl’s bowl and moved them over to the black girl’s bowl and the white girl looked at her bowl still full to the brim and decided your moving those raisins was unfair and she stomped and cried and yelled, well then she is a spoiled and entitled brat. 

And if you are adding new raisins, it seems more important to add them to the bowl on the right. I mean, even if we added the both bowls at the same speed from now on (and we don’t) it would still take a long time before the numbers got big enough to make the difference we’ve already established insignificant. 

And that’s the difference between whitewashing POC characters and making previously white characters POC. And that’s why every time a character’s race is ambiguous and we make them white, we’ve lost an opportunity.

*goes off to eat her chocolate covered raisins, which are no longer metaphors just snacks*

(via notallwerewolves)

It’s dark because you are trying too hard. Lightly child, lightly. Learn to do everything lightly. Yes, feel lightly even though you’re feeling deeply. Just lightly let things happen and lightly cope with them. I was so preposterously serious in those days…Lightly, lightly—it’s the best advice ever given me. So throw away your baggage and go forward. There are quicksands all about you, sucking at your feet, trying to suck you down into fear and self-pity and despair. That’s why you must walk so lightly. Lightly, my darling.
Aldous Huxley, Words I Needed To Tell Myself (via acupofkeen)

(via emmra)

"It’s getting worse because people can’t afford good quality food… Malnutrition, rickets and other manifestations of extreme poor diet are becoming apparent. GPs are reporting rickets anecdotally in Manchester, the East End of London, Birmingham and the West Midlands. It is a condition we believed should have died out…"

(via simplesue)